At the CONTEXT Art Miami international fair,
RoFa Projects presents five artists whose work seeks to question the limits, borders and edges within geographical territory, geometry and art.
Dates: December 6 - 10, 2017
One Herald Plaza @ NE 14th Street
On Biscayne Bay between the Venetian &
Karlo Andrei Ibarra
Neon Text. 6 in x 36 in. Edition of 3 + 2 A/P
A journey that begins with a purely political approach and becomes one of rapprochement and inclusion.
Fernando Poyón's (1982) art works are characterized by communicating historical or political experiences through the experimentation of contemporary media and techniques. In this case, the artist from Comalapa, Guatemala, recreates versions of the world map, using the original form of each country, and matches them based on that form instead of on their location. Creating in that way new configurations, new links, continuing with it the dream of a world without borders.
The work of Karlo Andrei Ibarra questions social, political, cultural and geographical limits. In particular, the piece Continental (Live in America) and its use of the word America presents the idea of a unified continent, contrary to its current reduction where the word America is used to refer to the United States, to a specific geopolitical context. America is 35 countries and 25 territories and all must be included and listened to. As a native Puerto Rican, he raises questions about the marginalization of all the other countries that make up the continent and symbolically marks an economic and political weight.
"Continental" claims and resonates with current problems of border regulations that restrict access to people and products based on national origins.
Guillermo Marconi (1980), a Colombian artist, creates in his works fictitious spaces, which serve as an example of different realities in which we live, which are, after all, human constructions. Through perspective, design and geometry, he raises questions about the characteristic elements of contemporary art and architecture, such as light, color and matter. And in this case it also adds a political element. We see four boxes of light echoes with a border that separates them. He asks himself how we see the spaces, how we configure them, how we modify them, based on which side we are on.
It also includes an additional element; two countries, with two colors in common: white and red, and two others that differentiate them: blue and green.
The Spanish artist Santiago Villanueva (1964) works with sculptures, which are presented not as endpoints, but as separations and borders. They are rather sinuous, friendly forms of approach and actions captured in the process of transformation, and suggest the inertia of development, will or encouragement. From the duality provided by the language of the senses and the language of matter, the work is defined and constructed.
It also links us with the intimate experience of the body and the search for an interior portrait with beauty as an essential interlocutor.
The work of the Uruguayan artist Marcelo Larrosa Martinatto (1971), a direct student of master Julio Alpuy, is focused on language. Following in line with the constructivist tradition, it twists the limits in art and considers letters as forms and texts as images. Letters with their configurations are a visual resource of great rhythm that mixes figure and background, producing an impeccable gestalt. Exploring the boundaries between painting and writing, in favor of the creation of universal signs and symbols. Symbols that bring together, that unify, that flexibilize and that give us an infinite number of possible messages in its constructive universalism.
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White Drop, 2017
Polystyrene, Fiberglass, Red Paint, Wood and Lacquer
10 x 69 x 10 in
One of a kind
Una luz, una sombra, 2016/2017
Digital printing on canvas
39 x59 in
Edition 2 of 3 + 2 artist proofs
Neuma Construction, 2017
Oil on canvas
20 x 27.5 in
One of a kind